Tuesday, February 23, 2010

This 1946 photo is of the only true complete team ever to be exclusively sponsored by Cinelli. As you can see the jerseys are labeled G. (Giotto) Cinelli as this pre-dates the Cino leadership of the company. Cino supplied many bikes to amateurs as well as single pro riders but was never the title sponsor of any team.

Saturday, February 20, 2010

"Cinelli's frames were as limited in models as they were in numbers. Early on, he produced a relatively economical sports bike, and he also dabbled in track bikes and tandems...... but, his enduring classic, the staple of his frame production, was the legendary Super Corsa road model. Produced with relatively few changes from 1947 on, its ride and durability are part of cycling lore.....

The fabled frame was the result of Cino's yen for a more rigid design. To this end, he conceived sloping fork crowns and the peculiar "fast-back" seat post-bolt system. Early on, the hired a Bianchi frame maker, Luigi Valsasina, to assist in frame production. (Now 85 (ed. note: in 1986), Valsasina left the firm a few years after Cinelli's own exit). Cino recalls how his technician initially resisted such an unorthodox design. Cino, having an order to fill for the great Fausto Coppi, instructed Valsasina to build two bikes for the champion--one a traditional configuration and the other Cino's new design. Both framebuilder and racer were duly impressed with Cino's alternative, and the Super Corsa was born."

Photos: coortesy of CINELLI ONLY reader

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.

Thursday, February 18, 2010

Larry Theobald, and his wife Heather, are the owners of CYCLE ITALIA, www.cycleitalia.com, and are currently residing in Viterbo as they prepare for the 2010 bicycle touring season. Do visit their website and blog. Larry was kind enough to undertake an interview today with Serafino Tomi of Cicli Tomi. Grazie mille, Larry. Here is Larry's report:

Interviewed by request of Angel(o) of Cinelli Only and the Italian Cycling Journal, who supplied a list of questions for Tomi.

Before we get to the specific questions here’s a bit of background – Serafino Tomi of San Martino al Cimino (near Viterbo) wanted to learn how to build frames in the mid-70’s. He called and wrote to a few builders up in Milan. Cinelli offered him a job after a lengthy telephone conversation. He commuted to Milan each week, returning to his wife and children on the weekends. Tomi worked at Cinelli for approximately five years. He still regards Cino Cinelli as sort of a demi-god of cycling. Over and over I heard “grande uomo” prefacing “Cinelli”. Of course in Italian grande means big, but in this case it also means grand. Serafino still exhibits great respect and admiration for Cinelli and credits him for most of what he learned and later put to use making his own frames under the TOMI name through 2003. He was happy to speak of his great friend and mentor but limited his comments to his tenure there and was unwilling to speculate on what may have happened before or after.

What can you say about the numbering (serial) system? After the frames were built the numbers were assigned by someone in the front office. We simply stamped the numbers into the frame using individual number and letter stamps and a hammer.

Did Cino Cinello himself build frames? Yes, he built a few frames though he was busy during my time there (1975-80) with new ideas.

What makes Cinelli bikes special? At that time there were big bike factories like Bianchi and Atala, making low-priced bikes for general use as well as racing machines. Ex-racer Cino Cinelli made only racing machines using the highest quality tubing from Columbus along with other high quality parts – if he couldn’t find them, he designed them and had them made. He was committed to artisan work rather than large-scale manufacturing and every bike (during my time) was made in the Cinelli workshop. No matter what decals might be on the frames, many Italian (and other) racing teams raced on frames made by Cinelli. One time a big team came to Cinelli with an order for the next season. He explained he could not provide the bicycles and recommended a new young builder who made good bicycles. His name was Ugo DeRosa.

Do you have information on brothers Giotto or Arrigo or 1940’s Cinelli bikes? No.

How many frame-builders were there at any one time? During my time there were three or four of us cutting and mitering tubes and assembling the frames before they were brazed up by one brazer.

Did each builder build a complete bike? See above.

Were Cinelli’s made to order or made in stock sizes to sell? We made a batch of size 50 one day, size 54 the next, etc. Columbus respected Cinelli so much that if special tubing was needed for an extra large frame, Columbus would supply it to us but most were made in what were stock sizes, produced in small batches.

Why did Cinelli use 26.2 seatpost? Strength and reliability. The larger seatpost requires more material be removed from the lug, making the entire area of the frame weaker. There is nothing magical about 27.2, with the tubing and lugs available at the time 26.2 simply made for stronger frames in the seatlug area.

Were the frames painted at Cinelli? No. The brazed frames were cleaned and filed/sanded before being sent to the painter. All of them were then painted metallic gray. This was Cinelli’s signature color in the same way Legnano’s were light green and Bianchi’s sky blue (celeste).

Any all-chrome Cinelli frames? Not during my tenure.

Subcontractors before 1983? Did you know of Montelatici? During my time ALL Cinelli bikes were made at the Cinelli workshop, there were no outside makers though there was sort of an agreement that workers at Cinelli could come in on the weekends and make frames for themselves, limited to two a week. I don’t recall the name Montelatici, sorry.

Innovations such as bivalent hubs…were these made at Cinelli? No, I saw them and other products like the famous M71 pedal, but they were made elsewhere.

After 1983 it has been said that frames were made by Giovanni Losa. Is this correct? Losa worked with me at Cinelli. During that time all frames were made in-house. I don’t know what Losa may have done later. Once Cinelli was sold, everything changed.

Another story said Mario Camilotto built frames in the early 1980’s, do you know anything about this? No. I don’t recognize this name. I know only about the time I was actually there, from 1975 – 1980.

After the questions were answered, we talked a bit more. Tomi showed me a cherished original Unicanitor saddle and told of it being quickly copied. Masi had some copies with his name on them which damaged the previously friendly relationship between Cinelli and Masi somewhat. (Photo shows Serafino Tomi holding the saddle)

Tomi was able to learn brazing while at Cinelli though he brazed only when the regular brazer wanted to school him in the skill, usually when Cinelli was not around. He showed me torch tips of various sizes and explained that many builders use a tip too small, which concentrates the heat too much. He feels the entire joint should be brought to the right temperature before the brazing rod touches metal. The molten rod flows into the joint thoroughly and rapidly with this technique with less distortion compared to heating concentrated areas with a smaller torch tip.

He next pulled out a near-new Cinelli stem (photos above). He explained it was used on one of his Milan show bikes to show his respect for his friend and that he and his wife had stayed up past midnight before the show painstakingly painting the colors into the pantographed logo Serafino had carved into the stem. He even painted the cap that covered the hole in the stem and claimed that prior to this, the Cinelli logo was a simple silver on black, only after being pleased with the Tomi design did Cinelli add the colors to his logo! Tomi later pantographed his own TOMI logo onto stems, chainrings, brake calipers, etc. as was popular at the time.

Serafino also told me he made steel track handlebars while at Cinelli. He regarded the bars and stems, along with the M71 clipless pedal as prime examples of the forward-looking mindset of designer Cino Cinelli.

Serafino himself also claims to be one of the first to braze cable stops onto the head tube rather than use the more-conventional shifter mounts on the downtube once Ergopower and STI came into wide use. He also claims to be one of the first (and perhaps the first) to braze the seatstays low on the seattube, making them shorter and creating a more twist-resistant rear frame section, a design he says was widely copied once a racer on one of these frames raced it in Tuscany.

In addition to the pantographing, Tomi did all the paint and decal work on TOMI frames himself – only chroming was performed elsewhere (up in Milan). He still is quite a perfectionist in many ways, showing me a prototype carbon fiber TOMI frame he’d just received with improperly placed decals and other flaws – something that most bike shop owners would not worry about but he was on the phone with the supplier making sure the for-sale frames he was to receive had the decals properly placed!

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components."

Wednesday, February 17, 2010

In this recent article I mentioned that it has been said that, ".....in the 1980's the Cinelli Supercorsa was made by an experienced Milanese framebuilder by the name of Mario Camilotto. The workmanship on these models is quite beautiful perhaps even nicer than earlier models. I do not know why Signor Camilotto stopped building for Cinelli and why later frames were made by Losa, also in Milan."

CINELLI ONLY reader Michael was kind enough to send in the above photo showing Mario Camilotto at work, surrounded by framebuilding equipment, tubesets, frames, and wearing a Cinelli T-shirt. Michael wrote, "The photo is of Mario Camilotto in the Cinelli factory of Columbus Steel in Milan. The only other thing I have heard about Camilotto is that he personally built every Cinelli Supercorsa from the time that Columbus bought the Cinelli brand, until Losa took over (in the early 90's?). The workmanship on my 1984 is quite clean."

Through a lead from another reader I learned that there were some video segments of Mario Camilotto at work embedded in a youtube video of Britsh framebuilders, the Taylor Brothers. Beginning at 4:40 in the video Camilotto can be seen several times building the "Ferrari" of bicycles. Definitely worth a look:

Monday, February 15, 2010

1980s-2008 Cinelli Supercorsa builders:I have collected some details regarding the builders of the Cinelli Supercorsa frames from the 1980s to 2008. The following information, unconfirmed, is from two sources:1."Thru the 90's until this past year, Cinelli's steel bikes, including Supercorsa, were made in the shop of Giovanni Losa on the outskirts of Milan as Cinelli's official 'house' builder. Losa retired after a serious heart attack or stroke last year (2008) and although his employees appeared to have carried on for a time, it appears that his business is now closed. I do not know who,if anyone, Cinelli has chosen to produce post-Losa Supercorsa's as well as the new stainless steel Xcr. in all probability, Losa-produced Supercorsa inventories would very likely have carried on thru this past year."2."It is my understanding from a source in Italy that in the 1980's the Cinelli Supercorsa was made by an experienced Milanese framebuilder by the name of Mario Camilotto. The workmanship on these models is quite beautiful perhaps even nicer than earlier models. I do not know why Signor Camilotto stopped building for Cinelli and why later frames were made by Losa, also in Milan."

Saturday, February 13, 2010

"Among the most sought-after of all vintage lightweights. A few heretics claim they are over rated. I say take a closer look and get a clue - or buy a Cannondale. Many Cinelli frames show exquisite mitering, smooth and even brazing, and lots of lug thinning. This is even true for many examples from the early 50's! Sure they have deep ugly file marks too - but that is only the surface! Add to the equation that many ride pretty close to perfection - at least as some would define it. Cinelli frames are also a visual feast with Italian style that just won't quit. In Japan, appreciation for Cinelli products is near cult-like. A Cinelli is an icon of cycling tradition. Sure, a few Cinelli frames have some lapses here and there - but don't miss the point. Cinelli frames defined the paradigm of a quality racing bike for decades. (ed. note: photo of 1957 Cinelli):

Around 1978 Cinelli was sold to the Columbo family. There are bikes with either the new or old logo's from this period. Until about 1980, while the graphics could go either way, the brake bridges and bottom bracket shells had new Cinelli logs making these bikes recognizable. From around 1980 until perhaps 1981 or 1982, Cinelli bikes with the new logo using a 26.2 seatpost and the lugs with 3 holes in each were very nice. Many do not consider these to be "real" Cinelli bikes, but they are at least as good as many of the earlier ones. Apparently either some very good builders from the previous period continued on, or work was contracted to outside builders of considerable talent. These bikes from this period deserve to be classics in their own right. Their geometry is upright, yet the ride is comfortable. These are bikes designed for the fast short distance riding so common in the United States. They, nonetheless, will handle mountain descents with ease as well! (ed. note: 2 photos of a 1982 Cinelli):

Sometime around 1983 it all ended. The 26.2 sleeved seat lug was replaced wit a different cast model that used a 27.2 post. The familiar 3 hole lugs were gone as well. Quality during the following years took a pretty heavy hit as well. Many examples didn't even have chrome lugs. By the late 80's quality improved and chrome lugs returned. It just, however, isn't the same."

ed. note: after posting this article a reader informed me that it was actually written originally by Michael Kone, and later appeared at the Harris Cyclery website under "Michael Kone with Sheldon Brown".

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components."

Thursday, February 11, 2010

Buying A Bike In ItalyFrom the New York Times of 5 January 1986By Linda Jeffries

"In northern Italy on a pleasant day, the roads are filled with bicyclists: many in racing gear; whole squadrons of teenagers on training runs; pairs of fathers and sons; lone middle-aged or white-haired veterans. For others, cycling is a more practical matter, a way to get around. Housewives hang shopping bags from their handlebars; old men carry melons to market, and children pedal to and from school. Bicycles are very much a part of the Italian scene, especially in the less mountainous parts of the central and northern regions.

This strong commitment to the bicycle fosters a lively industry in Italy. And with the country's tradition of fine design and workmanship, it means that Italian bicycles are among the best in the world. In a good many American bike shops, the top-of-the-line model on display in the window is likely to be Italian. Even if the frame is different, the parts will probably be Campagnolo, an Italian label recognized around the world. Such a bicycle - a Bianchi Vittoria, for instance, with all Campagnolo parts - might cost $900 or so, and the top-of-the-line Centenario is priced at about $2,500.

However, in Italy the same bicycles cost substantially less (about two-thirds the American price). Italian bike shops also carry many less expensive but well-made bicycles not found in the United States. Manufacturers like Bianchi tend to export their more expensive models, and many other manufacturers do not export to the United States at all.

So if you are a cyclist and are planning a trip to Italy, you may want to consider buying a bicycle there. Shopping for one can be a welcome change of pace from sightseeing, and besides, since cyclists and shop owners are a friendly group as a whole, you may find their enthusiasm inspiring.

If you decide to explore the Italian bicycle market, there are some things to keep in mind. First, you are better off shopping in a larger city in the North where bike shops are more numerous and more used to dealing with foreigners. The Milan area, an important center for the cycling industry, probably has the most bike shops and the widest choice available, but you could also do well in Bologna or Florence. Rome is a possibility as well, though because of its congestion it is probably not a city you would want to cycle in. Remember also that bike shops, like most other shops in Italy, are generally open only from 9 A.M. to 1 P.M. and from 4 to 7 P.M.,and a good many close in August, the country's traditional vacation month.

The cheapest bicycles ($100 to $200) are the solid, three-speed ones that most Italians use to get around town. They are sturdy and durable, but also heavy. Then there is a whole range of bikes for amateur racers who want some speed as well as lightness and durability at affordable prices. There is a large market in Italy for these bikes, and they are also the best ones for the American interested in recreation or touring.

Prices vary according to the quality of the frame and the parts. Your first question should be about the frame (telaio) and whether it was handmade (artigianale). Handmade frames cost more than those assembled in a factory, but since bicycles with handmade frames are still reasonably priced by American standards (as low as $250), it may be worth your while to pay for the better workmanship. Another question should be about the tubing. Columbus tubing is the lightest and is used in most handmade Italian racing bicycles. This kind of tubing requires careful handling, since too much heat in the braising process can weaken the frame joints. Look for clean lines, and if the builder is not well known, check his reputation among cyclists or mechanics. High-quality tubing is also made by Reynolds, an English company, and by some Japanese companies, but Italian bike builders are very loyal to Italian products, so you are not likely to come across too many imported frames. Note that Columbus or Reynolds tubing should be labeled as such on the frame; an unmarked frame is probably made of a cheaper Italian tubing.

After the frame, you need to examine the parts, especially the derailleur (cambio) and the brakes (freni). With a Campagnolo derailleur and other fittings, you can be sure of the best quality and also of finding replacements in the United States. Finally, you should make sure the rims and tires are the appropriate ones for you. Racers use a tubeless tire known in the United States as a sew-up and in Italy as a palmer or tubolare. These are generally not advisable for recreation or touring, for they puncture more easily and are tricky to mount. So if you are buying a racing model, ask for normal tires with tubes (normale) and for rims that fit them.

Those looking for a well-built frame of high-quality tubing and good parts - and willing to spend $350 to $750 - have many manufacturers to choose from. The particular maker does not matter much. You might as well let color, style or the feel of the bicycle be your guide. However, for the best buy, stay away from names you may have seen in the United States. since these manufacturers tend to charge more than others for the same Columbus tubing and Campagnolo parts.

The one area in the cycling market that the Italians seem to have neglected is touring. Young Italians have not been too interested in traveling by bicycle. Though this may be changing, in general it seems that Italians prefer to travel by car or train. Until recently the lack of interest in bicycle touring has meant that anyone who wanted to see Italy by bike had to come fully equipped. To some extent this is still true, especially in the south, where the bike shops are less well stocked. Elsewhere the situation is improving. For light touring, any of the lightweight amateur racing bicycles will do, and in many shops in the north you can find adequate (if unsophisticated) front handlebar bags and rear panniers. For more serious touring, you will need a touring bicycle with a more flexible and comfortable frame. You might also prefer to bring your own bags and a rear free-wheel with a large (34 or 36 tooth) sprocket. The largest sprockets available in Italy have only 30 teeth, which is not adequate for heavy touring over hilly terrain unless you have thighs like some Italian racers.

Sending your bicycle back to the United States is less of a problem than it might appear from the other side of the Atlantic. If you want to take it with you on the plane - for no extra charge if you count it as a piece of luggage - it must be boxed. You can box the bicycle yourself if you have the tools to dismantle it. (Boxing requires removal of the seat, handlebars, pedals and front wheel.) Boxes are found at most shops, though you should call ahead to make sure some are available. Most bike shops will box the bicycle for $15 or $20. Another option is to buy an airline bag specially designed for bicycles, which costs about $50. Many shops will also ship bicycles to the United States by air freight. Shipping companies charge by volume, but the cost still varies from shop to shop: about $150 to $175 for an assembled bicycle, $75 to $100 for an unassembled one.

Another problem may be language, yet it need not be too much of a problem. In many shops someone usually speaks some English. But if no one does, it is relatively easy when discussing a bicycle to use fingers for numbers and otherwise demonstrate your ideas. A little Italian, however, can go a long way. With a few key words and phrases, you'll quickly win friends among cyclists and shop owners.In buying a bicycle, it's useful to know that at least one shop, Cinelli in Milan, accepts credit cards. Others may take them next summer, but don't count on it. Some shops may accept United States currency if they are not too busy to figure the conversion, but you may not get as favorable an exchange rate as you would at a bank. Milan Detto Pietro (8 Viale Monte Santo; 653-173) has a wide selection of bicycles and accessories.

Cinelli (also known as Gran Cicilsmo, 45 Via Folli in Lambrate on the outskirts of Milan; 215-1643) has handmade and factory-made bicycles, touring equipment and books (in English) for touring.

Rossignoli (71 Corso Garibaldi; 804-960) is the place to buy parts as well as bicycles.

If you have the time and some knowledge of Italian, you might seek out some of the smaller, independent frame builders in the Milan area. Ask around among cyclists and shops for names and addresses.

Florence: Giuseppe Becucci (24R Via de Leone; 298-005) offers a full range of bicycles and touring equipment as well as Kryptonite locks.

Bologna: A. Villa (10 Strada Maggiore; 221-716) has a large selection of bicycles in all price ranges as well as some touring equipment. Patelli (1 Via Matteotti; 353-848) makes bicycles to order and specializes in racing equipment.

Photo: from my collection (not published with story): Eric Clapton in 1988 picking up his Cinelli in Milan.

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components."

Tuesday, February 9, 2010

Cinelli frames have a loyal following with bicycle fans world wide. They were produced in small quantities (750 in the best years) till the company was sold to A.L. Columbo group in the late 70's. Cinelli frames made up until that point where used used mainly for Olympic and World Championship teams (ed. note: 1960 gold medal Olympic team were on Cinelli).

Cino Cinelli was a successful bicycle racer in Italy, winning Milan-San Remo in 1943 and. He started using some of the ideas he had created in his head during those year s of racing, when he began building frames after Word War II. Cinelli thought that frames needed to be stiffer and that the geometry was to relaxed on most of the models of that era. He created a fork crown that had sloping shoulders and internal lugs. This allowed the blades to be shorter and created a stiffer fork . Cinelli also redesigned the seat collar, bring the seatstays in behind the lug rather that along side it. Fausto Coppi was one of the first to use these new features when he raced on a Cinelli frame in 1947.

Cinelli also was known for components, his steel stems and bars where classic. There where a number of innovations that he brought to cycling. The first clipless pedal, the M71 was released in 1971.

The first aluminum handlebars to be accepted by the pros. The first plastic saddle, the Unicantor was designed in 1962 and became the model which all of todays saddles are based.

Hub design was an area that Cinelli put his trademark on with the introduction of the Bivalent q/r hubs. This design left the freewheel behind in the frame, and the wheel could be used in the front or rear. The idea was ahead of it's time, and the cost which was about twice what a Campagnolo hub would cost.

Cinelli also created the Laser bicycle which was one of the first aero “funny” bikes. This model was used to win many national and world titles. Ole Ritter used a Cinelli to set the hour record in 1968. This model had longer cranks and Campagnolo hubs that were 2 cm. narrower than conventional hubs. This bike ran on special tubulars made just for this record attempt. The bike also had a special fork with winged shaped blades for lower wind resistance.

In Italy the professional racers have a special attachment to Cino Cinelli. The relationship developed between Cino, Gino Bartali and Fausto Coppi. Cino was the foundation of the Italian Professional Cycling Association for professional riders. The idea was to represent the riders interest in the Italian Bicycling Federation, as well as the Italian Sports Federation (CONI). Cino was the president of the association for 24 years. His book on training for cycling remains a classic to this day.

Cinelli serial numbers do not run in sequence. Only in the post - 1981 timeframe (corresponding to the sale of the company to A.L. Columbo) do the serial numbers indicate the date. Some frames may have sat unsold for years in the shop, others may have been built by subcontractors.

The key to dating a Cinelli are the lugs (3 holes or no hole) and the bottom bracket oil port. The presence or absence of these features will help to establish the manufacturing date of a Cinelli frame. The BB port disappeared in about 1965. The 3 holes in the lugs appeared in about 1968. The Special Corsa ("A" model) is distinguished by its sloping fork crown, where the "B" model has a conventional flat fork crown.

Steven Maasland contributed the following on the debate recently about the significance of the SC on Cinelli bikes, I wrote to Andrea Cinelli to see if he could shed any light onto the matter. The question was, essentially, what is the difference between a Speciale Corsa and a Super Corsa. His response was:

Which translates to: The labels Speciale corsa and Supercorsa identified the same model of frame or bike: they were abbreviated "S.C.", in which the "S" indicated "Speciale" or "Super", whereas the "C" indicated "Corsa", to differentiate from the more economical model: "Modello B."

Which translates to: We had temporarily run out of a label and due to a printer's error, the letter "S" had two different meanings. Similar errors have also happened in the past with postage stamps to the great "satisfaction" of collectors who have sought more lucrative prices on the market.

It would therefore appear that there is no intended difference whatsoever between the two denominations."

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.

Saturday, February 6, 2010

The fine bikes of Cino Cinelli, of which no more than 750 were built per year in the best of times in Milano, are well known. We know also that one or both of his older brothers, Giotto and Arrigo, began the cycling business in Firenze (Florence).

Which brings me to the point of this story: an extremely rare stem bearing the name of Arrigo Cinelli, Firenze.

Any additional information, photos, etc., regarding Arrigo Cinelli would be most welcome.

Photos: courtesy of Matteo

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.

Contrary to common myth, Cino Cinelli was not the one who founded the Cinelli bicycle business. The first Cinelli branded bikes were actually built and sold by his older brother Giotto Cinelli in Firenze (Florence). Also involved in the business in Firenze was another older brother of Cino, Arrigo Cinelli.

Only a few Giotto Cinelli bicycles are known to exist. Of the 1946 Giotto Cinelli, Campagnolo Cambio Corsa equipped, bike shown above a reader of the Italian Cycling Journal wrote, "Very little is known about these bikes. According to Andrea Cinelli (ed. note: son of Cino Cinelli), very few of these early bikes exist. But thanks to the Internet, at least two more have been found. My bike was restored in Italy back in the early 70s. Unfortunately decals or pictures of Giotto Cinelli bikes with decals have yet to be discovered. Any information about the design of the original decals, or other Giotto Cinelli bikes, would be most welcome."

Cino Cinelli moved the business from Firenze to Milano sometime in the 1950s.

Photo: Giotto Giotto in 1939 when he was still riding as a pro (photo courtesy Steven Massland); Giotto Cinelli bicycle: note the Giotto Cinelli headbadge with Firenze, and the G. Cinelli seat collar, and the Cinelli cranks (click on photos to enlarge).

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.

Friday, February 5, 2010

We continue, from Part I, with the recollections of Cino Cinelli of his cycling era, as told to the Gazzetta dello Sport in 1997.

SHIFTING - After the World War I and in the 1920s there was a fixed sprocket and freewheel: to change gears one must stop and turn the wheel. In Italy the first shifter which permitted non-stop shifting was the "Vittoria". Vittoria allowed the chain to be lifted, the rider back pedaled, and then shifted. In 1936-37 Vittoria added two wings to the chainstays to move the chain (ed. to change gears a rider would stop pedaling, reach down to a lever situated just above the front chainwheel, move the lever forward which took tension off the chain, and back pedal while simultaneously twisting a knob at the end of the tension lever. The knob operated the two wings that moved the chain to another sprocket. When all this was finally accomplished he could re-tension the chain with the lever and commence pedaling forward again). In 1938 Campagnolo appeared with a serrated rear dropout and a two lever system: one for unlocking, the other to guide the chain where you wanted.

At first there was one chainring in front, at most 49 or 50 teeth, but Raffaele Di Paco he had one made with 52 teeth, Giuseppe Martano one with even 54 teeth; the three gears in the back were usually 16 - 18 - 20. In the (Giro di) Lombardia we used the 48x22 or 50x23. Gino Bartali's Ghisallo gearing was 49x22.

CLOTHING - Wool on the roads and Scottish lisle for the track. The shorts were padded with deer skin and the an ointment was rubbed into the skin it to make it softer. The jersey also had a pocket in front. Cap and gloves were identical to those of today. No eyeglasses: we used those of motorcyclists with the canvas sides. I lit a cigarette and made holes in the canvas so as to prevent the lenses from fogging.

SUPPORT - The changing of a wheel for a simple puncture was forbidden, unless you broke the wheel or some spokes. There was a trick: after a puncture you would do a wheel change and then the mechanic would break some spokes in order to justify his intervention to the judges. As for replenishment, two or three in the race depending upon the mileage, still higher than that of today. To achieve full autonomy we began races with two tubes on our shoulders, a pump, two water bottles in front of the handlebars, and a flask in one of the jersey pockets.

Photo: Cino Cinelli posing with bike and trophy after winning the Giro della Campania in 1939. From the "Il Nouvo Giornale Sport" dated 27.06.39. (Photo courtesy of David Beck)

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.

Thursday, February 4, 2010

Here are the recollections of Cino Cinelli, as told to the Gazzetta dello Sport in 1997, in which he recalled the period in which he rode.

STRADE BIANCHI (white, gravel, roads)- We ate dust and mud. Tubulars, large and heavy, weighing half a kilo each. One chainring in front, three gears in the back. The rims were made of wood. The wheel could only be changed if it was broken, in case of a puncture the rider must change the tire himself. Cycling of the 1930s, it is easy to imagine, was very different from that of today.

THE ROADS - Broken earth, very little gravel in the plains. We ate dust and mud. In the mountains there were the stones, and it was worse. If in good condition, the gravel roads were the best. The first bitumen (asphalt) road sections appeared in 1934/1935.

BICYCLES - The frame was steel, the bike weighed less than 10 kg. The first aluminum handlebars was seen in 1936-37 but many continued to mount those made of steel. Wood wheels were used until the end of 1937, and then aluminum wheels were used. They were more robust but were also heavier. They also lasted longer but would get hot, a problem above all in France, in the Pyrenees, with the long descents. The tubulars also weighed half a kilo each, eventually dropping to 350 grams. In 1943 when I won Milan-Sanremo the tubulars I used were 260 grams and I was told that I was crazy. The size of tubulars were greater: in the Paris-Roubaix the tubulars used were of 24-25 millimeters in diameter, now 19 but not by chance you fall more.

Part II next....

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.

"A Visit with Cino Cinelli", a sketch of Cinelli's life and contributions to cycling based on his own account and supplemented by information obtained from his son Andrea. By David V. Herlihy (1986).

"Few bicycle racers rank as champions; even fewer parts manufacturers stand out as genuine innovators. Master frame designers can be counted on one hand. Seldom does one encounter a legendary figure with a legitimate claim to all three titles. Yet as I approached a modest villa in the picturesque Tuscan countryside, on one unforgettable fall afternoon in 1986, I would have an opportunity to do just that. The day's resplendent sunshine only added to the near-mystical aura surrounding my visit with Cino Cinelli.

Now seventy years of age, and still fit and vigorous, he lives quietly with his wife and young daughter. He acknowledges a certain lingering interest in the bicycle world, even admitting to an occasional jaunt himself. However, his main activity these days, he insists, is to tend to his olive trees. Ever since he retired, almost a decade ago, severing all ties with the company which still bears his name, bicycles are no longer an important part of his life. Or so he cautions the cycling devotees who occasionally drop by on some sort of pilgrimage.

Fortunately, after we settled in his cozy study and exchanged a few desultory remarks about olive trees, Cinelli's disclaimer proved increasingly suspect. It soon became apparent that the subject of bicycles still evokes a gleam in his eyes. When I questioned him about his vast experience with these graceful machines, spanning over a half century, he vividly recalled even the most minor details as if they had just occurred.

The seventh of ten children, Cino was born on a farm near Florence in 1916. His father, a small landowner of modest means, was on poor terms with both the ruling fascists and the opposition communists during Cino's rather turbulent childhood. This awkward predicament forced the family to uproot several times, though it remained on the outskirts of Florence.

Cino's introduction to the bicycle came at an early age, when he and his two older brothers, Giotto and and Arrigo, cycled several miles to their school in Florence. The boys' competitive nature transformed what should have been a routine commute into a veritable race--and sometimes even a fistfight. The two older boys, against their father's wishes, began to participate in local amateur races. Giotto was especially good, and he was an inspiration to young Cino, who still proudly recalls the day he stood on a glorious Tuscan hilltop to witness his brother's first victory. Naturally, Cino wanted to race too. But he would not have an easy time pursuing this dream. First, he had to contend with his father's vehement opposition. Second, the family's increasingly dire economic situation forced Cino to quit school at the age of 14 and to seek employment. Nor was his first boss, a doctor who used Cino as office help, inclined to accommodate an aspiring bicycle racer. Furthermore, it did not appear as if Cino, a rather frail youth, was blessed with a racer's physique or stamina.

Fortune would nonetheless match Cino's resolve. One day, as he was riding his over-sized sports bike down a country lane, he collided with a car, an unusual entity in those days. Picking himself up, along with his bicycle, a badly shaken Cino sprinted off, fearing the wrath of the driver. The gentleman nonetheless managed to catch up, and handed the startled youth a few crisp bills. He instructed Cino to fix his bike and to be more careful in the future. Not only was Cino able to repair his clunker, he also used his generous allowance to acquire the racing bike he had always coveted but could never afford.

Cino soon left the doctor's employ to take on a new job with a publisher. He was determined to educate himself, even if he could not attend school. His new boss encouraged not only the young man's avid reading habits, but also his racing aspirations, allowing the apprentice the time necessary to train. Cino still vividly recalls one of his first amateur races, in 1931, when he narrowly beat out a local lad for second place; a certain Gino Bartali. The winner, incidentally, was Bartali's cousin, who had already surpassed the age limit of fifteen by a good two years. But in those days, Cino grouses, unscrupulous racing authorities routinely turned a blind eye to such irregularities.

Over the next few years, Cino continued to shine in the local amateur circuit. Meanwhile, thanks to his rigorous work habits, he advanced rapidly through the ranks of the publishing house. But in 1937, at the age of 21, this delicate balancing act came to an abrupt end. The new management issued Cino an ultimatum: either give up racing or the job. Should he continue to compete, he would have to turn professional and renounce a steady job in a tenuous economy. Furthermore, it was by no means certain that he could make a living as a racer. Sponsors, at this time, were virtually non-existent. His earnings would have to come exclusively from prize winnings. Nevertheless, Cino gambled that he could survive by relying on Giotto's support and his own athletic ability. Fortune again responded favorably: the very day he quit his job he collected his first prize money.

In the 1938 Tour of Lombardy Cino faced, once again, his chief local rival, Gino Bartali, who was now likewise a professional, and a rising national star. The race evolved into an epic duel between the two, and, once again, Cino prevailed. The two Florentines, incidentally, are still close friends and occasionally get together. Cino confesses, however, that their encounters tend to be animated affairs, as the two old warriors rehash numerous debates that have lingered since their racing days. Evidently, an intense rivalry born long ago on bicycle saddles is carried forth today on living room chairs.

For the next six years, Cino raced professionally, serving stints with the Bianchi and Frejus teams. During that span, he compiled an impressive list of victories in such classics as the Giro di Lombardia, Giro di Piemonte, and Giro di Campania. But his greatest race, by his own estimation and by that of most observers, was his triumph in the grueling Milano-San Remo of 1943. "Late in my career," Cino reflects, "I realized that I got stronger the longer the race went on."

By this time, Italy was immersed in World War II, having entered on the side of Nazi Germany. But the fascist government vowed to sustain competitive cycling as a popular distraction. Cino, though nominally a soldier, was allowed to train and compete as a member of the state-sanctioned racing team. He would win one more contest in 1944, but he already knew that his racing days were behind him. Unlike Bartali and Coppi, Cino never raced again once the war ended the following year.

In 1946, at the age of 30, and still in his physical prime, he answered a new calling. Having experienced numerous technical failures during critical races, he had become increasingly interested in the mechanical side of cycling. Convinced that racing technology could be vastly improved, Cino set out to implement his ideas. He would exploit the technical knowledge he had gained from his racing career, and also his connections within the industry.

At first, he approached various manufacturers to offer suggestions, but he soon decided to produce and market racing bicycles and components himself. Cino moved to Milan so that he would be in the center of the Italian cycling industry. He then formed the first firm specialized in the distribution of cycle racing accessories. This enterprise began by serving federations and clubs, which at that time represented the entire Italian racing market.

From the onset, Cino manufactured stems, bars and frames. Initially, however, his own products accounted for only about a tenth of his total business. By the time Cino retired, that percentage had risen to about one half. But under his watch the firm never shed its principal identity as a distributor of high-end cycling components made by other manufacturers. Over the years, Cino marketed at home and abroad everything from Columbus tubes to Phil Wood hubs. His vast inventory included frame parts, tools, helmets, and cycle wear. The only prerequisite was that Cino had to personally validate the product.

Cino was always sensitive about his position as a middleman. He remarks, "I wanted to be able to deal with everyone in the bicycle business, from industrialists to artisans." He thus shied away from any exclusive arrangements that would limit his clientele or his influence. Consequently, nearly everyone in the trade openly sought Cino's valued advice. Even engineers treated him as a colleague.

But one of his most ardent listeners was a certain Gentullio Campagnolo. Cino recalls how he once convinced the vaunted parts maker from Vicenza to redesign his drop-outs, insisting that they had to be thicker. He also remembers advising Campagnolo to modify his seat post and hubs. Chuckling, Cino recounted how he once won a friendly bet between the two. "Campagnolo had just introduced a fork column, and I told him I could produce a better one at half his price." After examining his friend's submission, a dejected Campagnolo promptly withdrew his product and treated a triumphant Cino to a cup of coffee.

Cino and Tullio maintained a long and close friendship until the latter's death about four years ago. As far back as the1960 Olympic Games in Rome, the two jointly manned a booth to publicize their respective products, before the worldwide bike boom alleviated the need for such personal attention to business. But until that point, they shared some hard times. In particular, Cino recalls helping the struggling Campagnolo through some difficult financial straits. Once, a disgruntled Campagnolo creditor demanded that Cino pay him for his Campagnolo order, rather than Campagnolo himself, so as to extinguish a long-standing debt. Cino refused; he would pay no one other than Campagnolo for the parts that bore that name. No doubt, this special bond and mutual respect explains why the two manufacturers rarely presented competing products.

Notwithstanding Cino's primary role as a parts distributor, his own products gave the firm its illustrious name, and earned Cino a reputation as an implacable perfectionist. Here is a brief summary of his production over the years.

Stems and BarsBicycle stems and bars were always the mainstay of Cinelli's production, consistently accounting for at least 80% of his own sales. Even before the war, his brother Giotto had begun to manufacture steel stems and bars in Florence. In 1946, Cino took over that operation and brought it with him to Milan. The original staff included himself, his first wife Heidi (a Swiss national, and mother of Andrea), two office helpers and four assemblers.

Some firms, notably Ambrosio, today known primarily for its rims, were already using alloy in their stems and bars. Cinelli, however, always concerned with rigidity, originally stuck with steel. Only in 1963 did he introduced, half reluctantly, his first alloy stem and matching bar; and only because he was convinced that his combination was better than any on the market. (He continued to recommend steel bars for track riding, however). The A/I stem, as it was called, immediately became the industry standard. Graceful in design and strong in structure, it incorporated a number of novel features. A recessed allen-wrench fitting pointing toward the headset eliminated the need for a bulky protruding bolt. Nor was there any need to pry open the clamp when detaching the bars. Moreover, the stem's serrated inner surface kept the bars from getting scratched. In 1973, Cino designed the A/R stem, a sleeker model with a hidden bolt system. Scribbling furiously on my note pad, Cino explained in great detail how he adjusted the measurements of his stems and bars to ensure strength, elegance, and ease of use.

As racing bicycles gained popularity, primarily among high-end recreational riders, first in Europe during the early 1960s, and then in the United States by the end of that decade, Cinelli stems and bars were increasingly in demand. Annual production climbed from about 5,000 stems and bars in the 1950s, to 7,500 in the early 1960s. By Cino's retirement in 1978, the figure had reached a giddy 150,000. Yet despite the boom, Cinelli never relaxed his renowned quality standards. His staff grew slightly, and he modernized some techniques, but the products themselves remained the most refined and coveted in the cycle industry.

Racing framesFrame production, however, could not be readily multiplied without a significant decline in quality. Although some Italian frame makers succumbed to the temptation to industrialize their production, Cino stubbornly resisted. First, he had no desire to claim a significant share of the market for racing frames. Such a position would pit him against his major clients in the parts business. In fact, Cino was determined not to jeopardize his role as an honest broker to the Italian cycle industry. The few frames he did produce were generally sold to the huge American market, where the competitive effect was miniscule. Nor did Cino ever outfit a professional team with his frames, so that other builders would not feel that he had deprived them of that honor. His track frames were, however, in high demand by Olympic federations that were free to chose whatever equipment they deemed best. In 1964, for example, the entire Japanese team used Cinelli frames, as did the 1968 Mexican team.

Cino's aversion to stepping up his frame production also reflected his determination to implement his own, sometimes unconventional, concepts, without regard to popular taste or industry trends. Furthermore, as a parts designer and dealer, he felt that it was extremely helpful to remain personally involved in the production of frames. As he saw it, the parts had to be designed around the frame. Consequently, a Cinelli, the so-called "Rolls-Royce of bicycles," remained a highly exclusive item, even as demand soared. The annual output hovered around two-hundred and fifty during the 1950s, and peaked at about six or seven hundred in the 1970s. Frames were only consigned per custom-order, and customers often had to wait months for delivery, or even longer when he had outstanding orders from Olympic athletes.

Of course, Cinelli frames were never cheap. But Cino maintains that their exorbitant price barely covered the meticulous production process. He insists that he never intended his frames to be moneymakers. Today he proudly affirms that "no Cinelli was ever assembled outside my factory." He notes that an American businessman once approached him with a plan to produce Cinellis in California on a larger scale, but Cino would have none of that.

Cinelli's frames were as limited in models as they were in numbers. Early on, he produced a relatively economical sports bike, and he also dabbled in track bikes and tandems. In 1974, he designed a novel aerodynamic "funny bike" which the Dane Ole Ritter rode to break his own hour record. One of Cino's last projects was the Laser, a futuristic aerodynamic frame. But, his enduring classic, the staple of his frame production, was the legendary Super Corsa road model. Produced with relatively few changes from 1947 on, its ride and durability are part of cycling lore. Cino muses how a Frenchman once advised him to redesign it. "Why?," asked a perplexed Cinelli. "They last too long," came the reply. "How can you expect any turnover?".

The fabled frame was the result of Cino's yen for a more rigid design. To this end, he conceived sloping fork crowns and the peculiar "fast-back" seat post-bolt system. Early on, the hired a Bianchi frame maker, Luigi Valsasina, to assist in frame production. (Now 85, Valsasina left the firm a few years after Cinelli's own exit). Cino recalls how his technician initially resisted such an unorthodox design. Cino, having an order to fill for the great Fausto Coppi, instructed Valsasina to build two bikes for the champion--one a traditional configuration and the other Cino's new design. Both frame-builder and racer were duly impressed with Cino's alternative, and the Super Corsa was born.

Cino maintains that the sloping fork crown adds rigidity by reducing the length of the fork blades. In his view, only the harshest courses, those comprised of cobblestone, demand a more flexible ride and hence the traditional flat fork crown. Arguably, the sloping design also makes the bicycle slightly more aerodynamic. Though the advantage is admittedly negligible, it is notable that aerodynamic considerations only came into vogue many years later. As for the "fast-back" design, that arrangement directly aligns the binder bolt with the center of top tube, assuring a firmer grip on the seat-post.

Despite the longevity of the Super Corsa, Cino did apply a few minor changes over the years. The very first frames used Reynolds tubing, until Columbus SL became the standard. The cast lugs at the ends of the top tube began to sport three drilled holes, escalating in size, after about 1960. Starting in the early 1970s, the fork crown and the bottom bracket shell were produced by "microfusion," a then unique bicycles Cinelli process of investment-casting that yielded parts of greater uniformity and strength. (Cinelli also marketed his frame components to other builders.) And like other Italian frames, later models allowed for shorter-reach brakes, and featured a lower bottom bracket and an increasing array of braze-ons.

The famous Cinelli head badge was originally a hand-painted metal plate screwed into the frame. Later, it became a decal instead. The basic design, which also adorned his steel stems and his bars, remained unchanged, however. It featured a knight's helmet, inspired by the one that Cino's dad kept around the house. To one side is a red giglio (lily), the symbol of Cino's native Florence, and on the other is a green serpent, the symbol of his adoptive Milan.

Seats and other productsBefore 1960, racers used leather saddles almost exclusively. In fact, some artisans made a living by reshaping worn leather saddles for cyclists. Cino himself remembers entering one race perched atop a brand new Brooks saddle. But at a certain point the skies opened up and his once shiny and firm saddle became a sopping and saggy disappointment. Cino became convinced that there had to be a better material for racing saddles.

Years later, as a manufacturer, he approached one of his brothers who had gone into the plastics business to see if that material could provide comfortable yet rigid support. His brother responded favorably, but cautioned Cino that he would have to order saddles by the thousands to price them competitively. An enthused Cino tried unsuccessfully to enlist Campagnolo in his bold venture. Finally, he discovered that Tommaso Nieddu of Turin, founder of the Vittoria derailleur, had begun to manufacture saddles made of Rilsan, a synthetic material invented in France. Cino formed a partnership with Nieddu (known as Unicantor), and redesigned the seat to include a buffalo hide covering, for extra comfort and traction. Before long, this innovative product captured the racing market and put saddle re-shapers out of business.

Other notable Cinelli products include the resilient Binda toestraps, and the sleek M-71 clip-on track pedal, introduced in 1973. Although the latter product was short-lived, the French ski manufacturer Look eventually developed and applied the concept with great technical and commercial success. One of Cino's most imaginative ideas was a system that accommodated interchangeable front and rear wheels, designed primarily to facilitate wheel changes during races. The special freewheel, manufactured by Regina, attached independently to the frame. The hubs, manufactured by Campagnolo, could be fitted either into the freewheel or the front fork. Cino sold a number of bicycles with this system to Americans in the late 1960s, but the idea never caught on. Still, it remains one of Cino's most cherished concepts.

Cino's future plans call for a peaceful life in the countryside with his family, growing and harvesting olives. He is reluctant to leave the land he loves, even temporarily. He has no great desire to travel, and has never crossed the Atlantic, despite numerous invitations from American friends like the Chicago-based Schwinn family. Still, he is by no means detached from the rest of the world. His library contains numerous articles that have been written about him over the years in such far-flung countries as France, England, Japan, and the United States (he seems particularly proud of the article that appeared in Playboy in the early 1970s). And he maintains a rapport with numerous cyclists worldwide that he equipped over the years, effortlessly ticking off names and measurements. He relishes a collection of art objects sent by clients, sometimes in lieu of cash payment, as was the case with some residents of developing countries.

And, truth be told, his technical advice is still solicited by many in the Italian cycle industry. Among those who consult regularly with Cino is his own son Andrea, who is about to start his own bicycle company. Called Cinettica, it will market radically new frames and accessories.

As I reluctantly prepared to leave, I prodded Cino to weigh in on the state of cycling. He cites a need for improved road networks to accommodate cyclists, but he also advocates fundamental changes in design. After we paused for a Sunday afternoon dessert, Cino led me down to his basement where he elaborated on his technical ideas. There, resting against a well-scribbled blackboard, was his own bike--a Cinelli, of course. This classic rust-colored gem sported two 26" wheels and extra-long cranks. According to Cino, this is the ideal set-up for a road bike. "27" wheels were designed fifty years ago when we had much poorer roads," he groused, "It just doesn't make sense that we still ride these wheels today." Cino adamantly maintains that cyclists benefit from the higher cadence that goes along with smaller wheels, and that longer cranks provide better leverage.

Yet for all his innovative spirit, Cino is surprisingly conservative about certain things. He doesn't like the new Cinelli logo (a multi-colored "C"), for example. "I guess they felt they had to change something," he allows, "the way a new boss rearranges furniture" (The new owner, incidentally, is the Colombo family, owners of Columbus tubing). At the mention of Campagnolo's recently revamped line of "aerodynamic" components, Cino makes a face and utters a single word: brutto (ugly).

With regard to new frame designs and materials, Cino remains skeptical. He dismisses the "squished" steel frames, popular a few years back during the aerodynamic craze. "There is nothing stronger than a round tube," he asserts. He does hold out some hope for composite frames, provided certain technical objections are overcome. He mentions that he is about to receive such a frame shortly for his evaluation.

Night had fallen, and it was time for me to go. As he bade me a hearty good-bye, Cino promised to prepare a jug of olive oil for my next visit. "You know, when I first moved here," he noted with a tone of self-satisfaction, "the local growers all smirked. What could a man who just yesterday was a bicycle mechanic know about olive oil? Well, I cultivated my olive trees the same way I did my bicycles." Is it any wonder why his humbled neighbors now clamor for Cino's advice?"

Photo: 1935, Colli Fiorentini race photo showing the winner Giotto Cinelli on the right (holding flowers) and his younger brother Cino on the left. (Photo courtesy of Steven Maasland)

Contributions to CINELLI ONLY are welcome; contact veronaman@gmail.com

Wednesday, February 3, 2010

This blog is for all the Cinelli owners, enthusiasts and fans around the world. In the next few days we'll begin with some Cinelli history and some interesting photographs.

By the way of introduction I should say that I am the owner of one Cinelli Super Corsa (1970) and one Cinelli Super Corsa Leggerissimo (1972). I am also the author of the ITALIAN CYCLING JOURNAL which covers Italian cycling from a to z.

I invite you to contribute by sending in photographs of your Cinelli bike, illustrations, personal stories, and articles about Cinelli bikes and components.